We propose that emotion psychology would significantly gain from including narrative(s) and the conversational negotiation of appropriateness. Using the example of anger, we argue that narrators need to construct plausible narratives of emotional events to achieve validating responses by listeners. We argue first that narrators attempt to demonstrate that the appraisal conditions for their emotion are given so that the emotion fits the narrated events. Second, we argue that this in turn explains why narratives of specific emotions exhibit specific forms. (...) Third, we argue that coping with emotional experiences is helped by narrating such that the fittingness of emotions is demonstrated. We conclude that narrative plays an important role for identifying, processing, communicating, and eliciting emotions. (shrink)

Adult-infant early dyadic interactions have been extensively explored by developmental psychologists. Around the age of 2 months, infants already demonstrate complex, delicate and very sensitive behaviors that seem to express their ability to interact and share emotions with their caregivers. This paper presents 3 pilot studies of parent-infant dyadic interaction in various set-ups. The first two present longitudinal data collected on two infants aged between 1 and 6 months and their mothers. We analyzed the development of coordination between them, at (...) the motor and at the vocal level. The 3rd pilot study aims to explore interpersonal coordination in both vocal behavior and motor activity for one infant and his mother at 2, 4 and 6 months. These pilot studies however leave a number of questions open concerning developmental changes and infants’ progressive mastery of interaction. We identify areas worth examining and try to tease out specific issues that may help develop new methodological pathways for the study of early naturalistic social interaction. We assume that a continuous, rather than discrete, approach would better capture the changes taking place in the various communicative modalities, while also displaying each dyad’s specificity and the narrative dimension of social engagement between infants and caregivers. (shrink)

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the (...) timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

The aim of this paper is to present the principles of intersubjectivity as a second-person relational account of mind, set against individualist first- and third-person accounts of the sharing of mental representations. I will set out a summary of these positions and defend the claim that understanding proto-conversations as “expressive communications” allows one to understand them as genuine communications, as in, mutually manifest communications that entail intersubjectivity. To support this interpretation, I will propose a novel explanation of expression, understood as (...) constitutive of the mental state. (shrink)

We contest two claims: (1) that language, understood as the processing of abstract symbolic forms, is an instrument of cognition and rational thought, and (2) that conventional notions of turn-taking, exchange structure, and move analysis, are satisfactory as a basis for theorizing communication between living, feeling agents. We offer an enkinaesthetic theory describing the reciprocal affective neuro-muscular dynamical flows and tensions of co- agential dialogical sense-making relations. This “enkinaesthetic dialogue” is characterised by a preconceptual experientially recursive temporal dynamics forming the (...) deep extended melodies of relationships in time. An understanding of how those relationships work, when we understand and are ourselves understood, when communication falters and conflict arises, will depend on a grasp of our enkinaesthetic intersubjectivity. (shrink)